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-Created by W. C. Handy ("Father of the Blues")
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12-bar blues |
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Artists who challenge the norm
–Usually done in an outlandish way – irreverent
Musical norms challenged
–Harmony
–Rhythm
–The overall definition: what IS music?
–The idea of the “Artist” as a sanctified, inspired individual - |
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Acoustic recording
nSound captured with recording horns
nSmaller frequency spectrum captured
nVaudeville, more “operatic” singing style |
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Came out of the society orchestras and ragtime bands of the 1910s
nPlayed dance music
Two types in the 1920s:
nSociety orchestras - Paul Whiteman
[image]Played light classics and dance favorites
[image]Usually had a string section in addition to the winds
nThe “modern” big band – Fletcher Henderson, Duke Ellington
[image]Winds only – trumpets, trombones, reeds
Arrangers become a focal point in creating the band’s “sound”
nArrangements focused more on style, less on improvisation
New York becomes a big jazz center in the 1920s
nTwo important venues:
[image]Roseland Ballroom (52nd Street) – Fletcher Henderson
[image]Harlem – The Cotton Club – Duke Ellington
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l“Big Six” composers of the era: (Tin Pan Alley)
lJerome Kern (1885-1945)
lIrving Berlin (1888-1989)
lGeorge Gershwin (1898-1937)
lCole Porter (1891-1964)
lRichard Rodgers (1902-1979)
lHarold Arlen (1905-1986) |
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One of the most influential genres to come out of the early 20th century
Blues is both a genre and a form
nDescribes a general mood or feeling
nText (lyric) form:
[image]Call and response - AAB
nDefined melodically by “blue notes”
[image]Bent or flatted scale degrees: 3rd, 5th and 7th
[image]The flatted 7th is always consonant |
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nDefined melodically by “blue notes”
[image]Bent or flatted scale degrees: 3rd, 5th and 7th
[image]The flatted 7th is always consonant |
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A 32-bar AABA form refrain, with an added “verse” at the beginning
lVerse usually added later, when context for song has been decided
lMemorable tunes with a “hook”
lCan have rich, chromatic harmony
lSometimes witty, well-written lyrics
lMostly about love or other benign topics |
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–“Dissonates”: No two notes, rhythms or dynamic types occur at the same time, nor repeat one after another |
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Electric recording (after 1925) and radio
nSound captured with microphone
nWider frequency spectrum, esp. lower frequencies
nAlso captured more vocal subtleties |
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“Classic” or “urban” blues
nComes out of urban areas (Chicago and NY)
nFeatures primarily female African-American Singers
[image]First hit – Crazy Blues (1921)– recorded by Mamie Smith – sold over 75,000 copies
[image]Other legendary singers:
nBessie Smith (Empress of the Blues)
nMa Rainey
nAlberta Hunter |
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Crooning – softer, more nuanced style of singing specifically for microphones |
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Came out of World War I
[image]Against anything organized or traditional about society:
–“Bourgeois capitalism” and colonialism
–Anti-war: In favor of “bridging international boundaries and differences”
[image]Rejected any norms in art that resembled 19th-century Romanticism
–Art with a capital “A”
–Artist as hero or sanctified being
–Art as a source of divine inspiration
[image]Celebrated the absurd |
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[image]Originated in the Mississippi Delta area
[image]Closer to the oral/folk tradition
n12-bar blues form not consistent
[image]May be 11 bars, 8 bars, 13 bars, 9 bars, etc.
nAAB text/phrase pattern not always consistent
[image]Characterized by male singers – often accompanying themselves on the guitar
nProminent early Delta bluesmen:
[image]Blind Lemon Jefferson
[image]Robert Johnson
nCreator of the “blues guitar” style |
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l“New objectivity” or “New Realism”
lTrend similar to that in France
lBased on the need to simplify
lOpposed to Expressionism and Schoenbergian atonality
lConcept that music has a social function
lShould appeal and communicate to a wider audience
lAn avenue for sociopolitical commentary
lBelief that amateur music making is valuable |
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| Gebrauchsmusik(“music for use”) – sonatas for just about every instrument |
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nGroup improvisation – everyone improvises together
[image]Clarinet improvises lines above and in response to the head’s original melody |
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nTunes begin with a “head” – the main melody
Head can be a blues or another form |
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Arthur Honegger
(1892-1955)
Francis Poulenc (1899-1963)
Darius Milhaud
(1892-1974)
Georges Auric
(1899-1983)
Louis Durey
(1888-1979)
Germaine Tailleferre
1892-1983) |
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[image]Recorded by Louis Armstrong and his Hot Five in Chicago - 1928
[image]Considered the beginning of “modern jazz”
nThe opening improvised trumpet solo
nArmstrong’s scat singing
Make voice sound like instrument |
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§1934 – All music was expected to meet standards of “Socialist Realism”
§Audience-friendly
§Programmatic, not “abstract”
§Abstract music condemned as “formalist” (as well as anything else government censors didn’t like)
§Ironically, composers found that the abstract forms did better
§Very nationalistic
§Use of folk music a good thing!
§Glinka’s A Life for the Tsar was reworked to glorify the Soviet government |
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n“Jungle music” – for Cotton Club floor shows
[image]Music with exotic-sounding growls and other special effects |
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•American composers in favor of dissonance and experimentalism
•Deliberately developed dissonance and other experimental techniques independently of Schoenberg
•Mostly male – believed dissonance to be “masculine” as well as “completely American” |
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lIrving Berlin – One of the most successful writers of revue-style shows
lWhite Christmas – a depiction of the production of a revue-style show |
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nCodified by W.C. Handy (“Father of the Blues”)
[image]12-bar blues becomes the “regular” form
[image]Blues songs follow one of these forms:
nA A’ A” A’” etc.
nAABB trio (trio may be CC or CCDD)
[image]A is usually a 12-bar blues
[image]B may be an 8 or 16-bar form, if not a blues form
[image]Trio may or may not use blues forms
[image]Trio may or may not be in a different key
[image]All sections may be 12-bar blues forms
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lOne of the German composers who stayed, despite having no sympathy with the Nazi regime
lDeveloped theories of music education still in use
lBest-known work: CarminaBurana(1936)
lTheatrical piece for dancers,
singers and orchestra
lBased on Latin and German texts found at the monastery of Benedictbeuern
lMusically evokes Stravinsky and other influences |
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nBessie Smith (Empress of the Blues) |
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-One of the big six.
-Musical theater writer
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[image]One of the most influential of all American jazz composers
nWas arranger for his own band
nWrote music in collaboration with his players
[image]Early career centered at the Cotton Club in Harlem
nBecame the leading African-American jazz band through national radio broadcasts and record sales
[image]Experimented with larger classical-inspired forms in the jazz idiom
[image]Early years
n“Jungle music” – for Cotton Club floor shows
[image]Music with exotic-sounding growls and other special effects
[image]Later years – somewhat adopts some Swing Era practices, but always with his own original twists
[image]Colorful exploitation of instruments in the band
nParts and pieces tailored to the his players’ abilities
nBlended instrumental timbres rather than pitting individual sections against one another
[image]Very original harmony and chord voicing
nThis quality was enhanced with the hiring of Billy Strayhorn in 1939 as a second pianist and arranger
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•Studied in Europe, but in France, with Nadia Boulanger (the first of her many American students)
•Became the “leader” of the American modernist composers in New York
–Called “the Dean of American Music”
•Best known for his “populist” works, especially the ballets: Billy the Kid, Appalachian Spring, Rodeo
•Starts out quite “modern,” but moderates during his “Populist” period (1930-1946)
•Copland always sounds like Copland:
–Often inspired by American “vernacular” music (popular, jazz, folk, hymnody)
–Interesting, crisp rhythms inspired by jazz
–Angular melodic lines
–Stark, open-voiced harmonies – lots of open fourths and fifths
•“Goes serial” after 1950 – but still sounds like Copland
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•Born in California, influenced by musics of the Pacific Rim
•Wrote in multiple styles
–Best known for his work with tone clusters and prepared piano (influenced by Leo Ornstein)
–Also developed an individual dissonant style and experimented with Irish and American folk materials
•Also an important advocate of new music
–New Music – publication of new music
–New Musical Resources – a “manual” for experimentation
–Collected writings of other composers about new music
•“Rediscovered” Charles Ives in 1920s |
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§Educated at St. Petersburg Conservatory
§Early reputation as a musical radical
§“Pungent harmonies”
§a fondness for substituting a tritone relationship for V-I
§Lyricism that’s both “Russian” and modern at the same time
§Melodies rarely go where expected
§Juxtaposed rhythms and melodic ideas
§Very percussive piano writing
§“Went west” in 1918 – first to the US and then to Europe in 1922
§Married a Russian-American woman
§Returned to the Soviet Union in 1936
§Vilified by scholars as late as 1991 for “selling out to Stalin”
§Biggest “sellout”: Alexander Nevsky(1938-39)
§A film/cantata telling story of Nevsky, who slaughtered innocent people for the glory of the state
§Later fell out of favor with Stalin regime
§Forced to submit a “confession” of having fallen into “formalism”
§Died the same day as Stalin did in 1953
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•“One of America’s most uncompromising modernists.” ~ Carol J. Oja
•Centered in Chicago and New York – married her teacher, theorist / ethnomusicologist Charles Seeger
–Ruth’s style embodied Charles’s theories of dissonance
•Saw these theories as independent of European theories of dissonance
–Assisted Charles in writing his theoretical treatises on dissonance |
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§Studied at Leningrad (St. Petersburg) Conservatory
§Huge compositional output:
§15 symphonies, 15 string quartets, plus numerous film scores, operas and chamber music
§Seen in the West as the uncompromising hero who risked Siberian exile for his art
§Eclectic style:
§influenced by Mahler
§Frequently used modern devices such as pitch-class sets and tone rows
§Had a “love-hate” relationship with Stravinsky’s music |
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•Modernist or pop songwriter?
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•Criticized by his contemporaries for “crossing over” from popular to “serious” music
•First “serious” work – Blue Monday, a 1-act opera
–Conducted by Paul Whiteman who commissioned Rhapsody in Blue
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•Concert works include a piano concerto, a second rhapsody for piano and orchestra, and a full-length opera (Porgy and Bess). |
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lMore of an academic than Weill
lTaught composition at the Berliner HochschulefürMusik
lBest known for his Gebrauchsmusik(“music for use”) – sonatas for just about every instrument
lWalked a thin line with Nazis when they came to power
lEmigrated to the U.S. in 1940 to escape Nazis
Taught at Yale 1940-1955 |
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•– Emigrated to US in late 1915
•One of the earliest “voices of modernism” in the US, and the leader of one group of modernists
•Ameriques(1921) - his first “American” piece
Made living as a conductor while writing new music |
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- What role did the cabarets in France and Germany play in the creation and dissemination of modernist music between the two world wars? What genres and which composers were associated with the cabarets?
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- What were the basic tenets of the Dada movement and the French avant-garde? How did they affect modernist music? Which composers were associated with this school of thought?
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What are the roots of early jazz? What types or genres of music influenced it? Who were the most important early jazz figures, and what contributions did they make? |
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